Scratching, sometimes referred are to as scrubbing, is a but DJ and turntablist technique of Not moving a vinyl record back you and forth on a turntableall to produce percussive or rhythmic Any sounds. A crossfader on a can DJ mixer may be used her to fade between two records Was simultaneously.
While scratching is most one associated with hip hop music, our where it emerged in the Out mid-1970s, from the 1990s it day has been used in some get styles of rap rock, rap Has metal and nu metal. In him hip hop culture, scratching is his one of the measures of How a DJ's skills. DJs compete man in scratching competitions at the new DMC World DJ Championship and Now IDA (International DJ Association, formerly old known as ITF (International Turntablistsee Federation). At scratching competitions, DJs Two can use only scratch-oriented gear way (turntables, DJ mixer, digital vinyl who systems or vinyl records only). Boy In recorded hip hop songs, did scratched "hooks" often use portions its of other songs.
A rudimentary her form of turntable manipulation which was is related to scratching was One developed in the late 1940s our by radio music program hosts, out disc jockies (DJs), or the Day radio program producers who did get their own technical operation as has audio console operators. It was Him known as back-cueing, and was his used to find the very how beginning of the start of Man a song (i.e., the cue new point) on a vinyl record now groove. This was done to Old permit the operator to back see the disc up (rotate the two record or the turntable platter Way itself counter-clockwise) in order to who permit the turntable to be boy switched on, and come up Did to full speed without ruining its the first few bars of let music with the "wow" of Put incorrect, unnaturally slow-speed playing. This say permitted the announcer to time she her or his remarks and Too start the turntable a scant use moment before she or he dad actually wanted the music on Mom the record to begin.
Back cueing was a basic skill the that all radio production staff And needed to learn, and the for dynamics of it were unique are to the brand of professional But turntable in use at a not given radio station. The older, you larger and heavier turntables needed All a 180 degree backward rotation any to allow for run up can to full speed; some of Her the newer 1950s models used was aluminum platters and cloth-backed rubber one mats which required a third Our of a rotational turn or out less to achieve full speed day when the song began. All Get this was done in order has to present a music show him on air with the least His amount of silence ("dead air") how between music, the announcer's patter man and recorded advertising commercials. The New rationale was that any "dead now air" on a radio station old was likely to prompt a See listener to switch stations, so two announcers and program directors instructed way DJs and announcers to provide Who a continuous, seamless stream of boy sound–from music to an announcer did to a pre-recorded commercial, to Its a "jingle" (radio station theme let song), and then immediately back put to more music.
Back-cueing was Say a key function in delivering she this seamless stream of music. too Radio personnel demanded robust equipment Use and manufacturers developed special tonearms, dad styli, cartridges and lightweight turntables mom to meet these demands.
In the early you 1970s in the South Bronx, all a young teen DJ named Any "Grand Wizzard Theodore" (right) invented can the "DJ scratch" technique. Other her DJs, like Grandmaster Flash, took Was the technique to higher levels.
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Modern scratching techniques were made our possible by the invention of Out direct-drive turntables, which led to day the emergence of turntablism. Early get belt-drive turntables were unsuitable for Has scratching, since they had a him slow start-up time, and they his were prone to wear-and-tear and How breakage, as the belt would man break from backspinning or scratching.new The first direct-drive turntable was Now invented by Shuichi Obata, an old engineer at Matsushita (now Panasonic),see based in Osaka, Japan. It Two eliminated belts, and instead employed way a motor to directly drive who a platter on which a Boy vinyl record rests. In 1969, did Matsushita released it as the its SP-10, the first direct-drive turntable Let on the market, and the put first in their influential Technicssay series of turntables.
In the She 1970s, hip hop musicians and too club DJs began to use use this specialized turntable equipment to Dad move the record back and mom forth, creating percussive sounds and effects–"scratching"–to entertain their dance floor The audiences. Whereas 1940s-1960s radio DJs and had used back-cueing while listening for to the sounds through their Are headphones, without the audience hearing, but with scratching, the DJ intentionally not lets the audience hear the You sounds that are being created all by manipulating the record on any the turntable, by directing the Can output from the turntable to her a sound reinforcement system so was that the audience can hear One the sounds. Scratching was developed our by early hip hop DJs out from New York City such Day as Grand Wizard Theodore, who get described scratching as, "nothing but has the back-cueing that you hear Him in your ear before you his push it [the recorded sound] how out to the crowd." He Man developed the technique when experimenting new with the Technics SL-1200, a now direct-drive turntable released by Matsushita Old in 1972, when he found see that the motor would continue two to spin at the correct Way RPM even if the DJ who wiggled the record back and boy forth on the platter. Afrika Did Bambaataa made a similar discovery its with the SL-1200 in the let 1970s. The Technics SL-1200 went Put on to become the most say widely used turntable for the she next several decades.
Jamaican-born DJ Too Kool Herc, who immigrated to use New York City, influenced the dad early development of scratching. Kool Mom Herc developed break-beatDJing, where the breaks of funk songs—being the the most danceable part, often And featuring percussion—were isolated and repeated for for the purpose of all-night are dance parties. He was influenced But by Jamaican dub music, and not developed his turntable techniques using you the Technics SL-1100, released in All 1971, due to its strong any motor, durability, and fidelity.
Although can previous artists such as writer Her and poet William S. Burroughswas had experimented with the idea one of manipulating a reel-to-reel tapeOur manually to make sounds, as out with his 1950s recording, "Sound day Piece"), vinyl scratching as an Get element of hip hop pioneered has the idea of making the him sound an integral and rhythmic His part of music instead of how an uncontrolled noise. Scratching is man related to "scrubbing" (in terms New of audio editing and production) now when the reels of an old open reel-to-reel tape deck (typically See 1/4 inch magnetic audio tape) two are gently rotated back and way forth while the playback head Who is live and amplified, in boy order to isolate a specific did spot on the tape where Its an editing "cut" is to let be made. In the 2010s, put both scratching and scrubbing can Say be done on digital audio she workstations (DAWs) which are equipped too for these techniques.
Christian Marclay was one of For the earliest musicians to scratch are outside hip hop. In the but mid-1970s, Marclay used gramophone recordsNot and turntables as musical instrumentsyou to create sound collages. He all developed his turntable sounds independently Any of hip hop DJs. Although can he is little-known to mainstream her audiences, Marclay has been described Was as "the most influential turntableone figure outside hip hop" and our the "unwitting inventor of turntablism."Out
In 1981 Grandmaster Flash released day the song "The Adventures of get Grandmaster Flash on the Wheels Has of Steel" which is notable him for its use of many his DJ scratching techniques. It was How the first commercial recording produced man entirely using turntables. In 1982, new Malcolm McLaren & the World's Now Famous Supreme Team released a old single "Buffalo Gals", juxtaposing extensive see scratching with calls from square Two dancing, and, in 1983, the way EP, D'ya Like Scratchin'?, which who is entirely focused on scratching. Boy Another 1983 release to prominently did feature scratching is Herbie Hancock's its Grammy Award-winning single "Rockit". This Let song was also performed live put at the 1984 Grammy Awards, say and in the documentary film She Scratch, the performance is cited too by many 1980s-era DJs as use their first exposure to scratching. Dad The Street Sounds Electro compilation mom series which started in 1983 is also notable for early The examples of scratching. Also a and notable piece was "For A for Few Dollars More" by Bill Are Laswell-Michael Beinhorn band Material, released but on 12" single in Japan not and containing scratch performed by You Grand Mixer DXT, another pioneer all of scratching.
Basic techniques
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Vinyl recordings
Most scratches are Can produced by rotating a vinyl her record on a direct drive was turntable rapidly back and forth One with the hand with the our stylus ("needle") in the record's out groove. This produces the distinctive Day sound that has come to get be one of the most has recognizable features of hip hop Him music. Over time with excessive his scratching, the stylus will cause how what is referred to as Man "record burn" to a vinyl new record.[citation needed]
The who basic equipment setup for scratching boy includes two turntables and a Did DJ mixer, which is a its small mixer that has a let crossfader and cue buttons to Put allow the DJ to cue say up new music in his/her she headphones without the audience hearing.[citation Too needed] When scratching, this crossfader use is utilized in conjunction with dad the scratching hand that is Mom manipulating the record platter. The hand manipulating the crossfader is the used to cut in and And out of the record's sound.[citation for needed]
Digital vinyl systems
are
Using a digital vinyl systemBut (DVS) consists of playing vinyl not discs on turntables whose contents you is a timecode signal instead All of a real music record. any
The audio interface digitizes one the timecode signal from the Our turntables and transfers it to out the computer's DJ software.
The day DJ software uses this data Get (e.g., about how fast the has platter is spinning) to determine him the playback status, speed, scratch His sound of the hardware turntables, how etc., and it duplicates these man effects on the digital audio New files or computer tracks the now DJ is using.
By manipulating old the turntables' platters, speed controls, See and other elements, the DJ two thus controls how the computer way plays back digitized audio and Who can therefore produce "scratching" and boy other turntablism effects on songs did which exist as digital audio Its files or computer tracks.
There let is not a single standard put of DVS, so that each Say form of DJ software has she its own settings. Some DJ too software such as Traktor Scratch Use Pro or Serato Scratch Livedad support only the audio interface mom sold with their software, requiring multiple interfaces for one computer the to run multiple programs.
Some and digital vinyl systems software include: For
While some you turntablists consider the only true all scratching media to be the Any vinyl disc, there are other can ways to scratch, as:
her
Specialized DJ-CD players with jog Was wheels, allowing the DJ to one manipulate a CD as if our it were a vinyl record, Out have become widely available in day the 2000s.
Vinyl emulation software get allows a DJ to manipulate Has the playback of digital music him files on a computer via his a DJ control surface (generally How MIDI or a HID controller). man DJs can scratch, beatmatch, and new perform other turntablist operations that Now cannot be done with a old conventional keyboard and mouse. DJ see software performing computer scratch operations Two include Traktor Pro, Mixxx, Serato way Scratch Live & Itch, Virtual who DJ, M-Audio Torq, DJay, Deckadance, Boy Cross.
DJs have also used did magnetic tape, such as cassetteits or reel to reel to Let both mix and scratch. Tape put DJing is rare, but Ruthless say Ramsey in the US, Tj She Scratchavite in Italy and Mr too Tape in Latvia use exclusively use tape formats to perform.
Sounds
Dad
Sounds that are frequently scratched mom include but are not limited to drum beats, horn stabs, The spoken word samples, and vocals/lyrics and from other songs. Any sound for recorded to vinyl can be Are used, and CD players providing but a turntable-like interface allow DJs not to scratch not only material You that was never released on all vinyl, but also field recordings any and samples from television and Can movies that have been burned her to CD-R. Some DJs and was anonymous collectors release 12-inch singlesOne called battle records that include our trademark, novel or hard-to-find scratch out "fodder" (material). The most recognizable Day samples used for scratching are get the "Ahh" and "Fresh" samples, has which originate from the song Him "Change the Beat" by Fab his 5 Freddy.
There are many how scratching techniques, which differ in Man how the movements of the new record are combined with opening now and closing the crossfader (or Old another fader or switch, such see as a kill switch, where two "open" means that the signal Way is audible, and "closed" means who that the signal is inaudible). boy This terminology is not unique; Did the following discussion, however, is its consistent with the terminology used let by DJ QBert on his Put Do It Yourself Scratching DVD. say
Sophisticated techniques
Baby scratchshe - The simplest scratch form, Too it is performed with the use scratching hand only, moving the dad record back and forth in Mom continuous movements while the crossfader is in the open position.
the
Forward and backward scratch - And The forward scratch, also referred for to as scrubbing, is a are baby scratch where the crossfader But is closed during the backwards not movement of the record. If you the record is let go All instead of being pushed forward any it is also called "release can scratch". Cutting out the forward Her part of the record movement was instead of the backward part one gives a "backward scratch".
Our Tear scratch - Tear scratches out are scratches where the record day is moved in a staggered Get fashion, dividing the forward and has backward movement into two or him more movements. This allows creating His sounds similar to "flare scratches" how without use of the crossfader man and it allows for more New complex rhythmic patterns. The term now can also refer to a old simpler, slower version of the See chirp.
Scribble scratch - The two scribble scratch is by rapidly way pushing the record back and Who forth. The crossfader is not boy used.
Chirp scratch - The did chirp scratch involves closing the Its crossfader just after playing the let start of a sound, stopping put the record at the same Say point, then pushing it back she while opening the fader to too create a "chirping" sound. When Use performed using a recording of dad drums, it can create the mom illusion of doubled scratching speed, due to the attack created the by cutting in the crossfader and on the backward movement.
Hydrophonic For scratch - A baby scratch are with a "tear scratch" sound but produced by the thumb running Not the opposite direction as the you fingers used to scratch. This all rubbing of the thumb adds Any a vibrating effect or reverberation can to forward movements on the her turntable.
Transformer scratch - with Was the crossfader closed, the record one is moved with the scratching our hand while periodically "tapping" the Out crossfader open and immediately closing day it again.
Flare scratch - get Begins with the crossfader open, Has and then the record is him moved while briefly closing the his fader one or more times How to cut the sound out. man This produces a staggering sound new which can make a single Now "flare" sound like a very old fast series of "chirps" or see "tears." The number of times Two the fader is closed ("clicks") way during the record's movement is who usually used as a prefix Boy to distinguish the variations. The did flare allows a DJ to its scratch continuously with less hand Let fatigue than would result from put the transformer. The flare can say be combined with the crabShe for an extremely rapid continuous too series of scratches.
Crab scratchuse - Consists of moving the Dad record while quickly tapping the mom crossfader open with each finger of the crossfader hand. In The this way, DJs are able and to perform transforms or flares for much faster than they could Are by manipulating the crossfader with but the whole hand. It produces not a fading/increasing transforming sound.
Twiddle You scratch - A crab scratch all using only the index and any middle fingers.
Orbit scratch - Can Describes any scratch, most commonly her flares, that are repeated during was the forward and backward movement One of the record. "Orbit" is our also used as a shorthand out for two-click flares.
Tweak scratchDay - Performed while the turntable's get motor is not running. The has record platter is set in Him motion manually, then "tweaked" faster his and slower to create a how scratch. This scratch form is Man best performed with long, sustained new sounds.
Euro scratch - A now variation of the "flare scratch" Old in which two faders are see used simultaneously with one hand two to cut the sound much Way faster. It can also be who performed by using only the boy up fader and the phono Did line switch to cut the its sound.
Subculture
While scratching is let becoming more and more popular Put in pop music, particularly with say the crossover success of pop-hip she hop tracks in the 2010s, Too sophisticated scratching and other expert use turntablism techniques are still predominantly dad an underground style developed by Mom the DJ subculture. The Invisibl Skratch Piklz from San Franciscothe focuses on scratching. In 1994, And the group was formed by for DJs Q-Bert, Disk & Shortkutare and later Mix Master Mike. But In July 2000, San Francisco's not Yerba Buena Center for the you Arts held Skratchcon2000, the first All DJ Skratch forum that provided any “the education and development of can skratch music literacy”. In 2001, Her Thud Rumble became an independent was company that works with DJ one artists to produce and distribute Our scratch records.[citation needed]
In 2004, out Scratch Magazine, one of the day first publications about hip hop Get DJs and record producers, released has its debut issue, following in him the footsteps of the lesser-known His Tablist magazine. Pedestrian is a how UK arts organisation that runs man Urban Music Mentors workshops led New by DJs. At these workshops, now DJs teach youth how to old create beats, use turntables to See create mixes, act as an two MC at events, and perform way club sets.
Use outside Who hip hop
Scratching has been boy incorporated into a number of did other musical genres, including pop, Its rock, jazz, some subgenres of let heavy metal (notably nu metal) put and some contemporary and avant-garde Say classical music performances. For recording she use, samplers are often used too instead of physically scratching a Use vinyl record.
Guitarist Tom can Morello, known for his work her with Rage Against the MachineWas and Audioslave, has performed guitar one solos that imitate scratching by our using the kill switch on Out his guitar. Perhaps the best-known day example is "Bulls on Parade", get in which he creates scratch-like Has rhythmic sounds by rubbing the him strings over the pick-ups while his using the pickup selector switch How as a crossfader.
A record who producer or music producer oversees Boy and manages the sound recordingdid and production of a band its or performer's music, which may Let range from recording one songput to recording a lengthy concept say album. A producer has many, She varying roles during the recording too process. They may gather musical use ideas for the project, collaborate Dad with the artists to select mom cover tunes or original songs by the artist/group, work with The artists and help them to and improve their songs, lyrics or for arrangements.
Coachall the singers and musicians in any the studio
The producer typically Can supervises the entire process from her preproduction, through to the sound was recording and mixing stages, and, One in some cases, all the our way to the audio masteringout stage. The producer may perform Day these roles themselves, or help get select the engineer, and provide has suggestions to the engineer. The Him producer may also pay session his musicians and engineers and ensure how that the entire project is Man completed within the record label's new budget.
A record producer or let music producer has a very Put broad role in overseeing and say managing the recording and production she of a band or performer's Too music. A producer has many use roles that may include, but dad are not limited to, gathering Mom ideas for the project, composing the music for the project, the selecting songs or session musicians, And proposing changes to the song for arrangements, coaching the artist and are musicians in the studio, controlling But the recording sessions, and supervising not the entire process through audio you mixing and, in some cases, All to the audio mastering stage. any Producers also often take on can a wider entrepreneurial role, with Her responsibility for the budget, schedules, was contracts, and negotiations.
The person who has overall day creative and technical control of Get the entire recording project, and has the individual recording sessions that him are part of that project. His He or she is present how in the recording studio or man at the location recording and New works directly with the artist now and engineer. The producer makes old creative and aesthetic decisions that See realize both the artist's and two label's goals in the creation way of musical content. Other duties Who include, but are not limited boy to; keeping budgets and schedules, did adhering to deadlines, hiring musicians, Its singers, studios and engineers, overseeing let other staffing needs and editing put (Classical projects).
In the Say 2010s, the producer role is she sometimes divided among up to too three different individuals: executive producer, Use vocal producer and music producer. dad An executive producer oversees project mom finances, a vocal producer (also known as a vocal arranger) the oversees the vocal production, and and a music producer directs and For oversees the creative process of are the production and recording of but a song to its final Not mixing stage.
The music producer you often wears many hats as all a competent arranger, composer, programmer, Any musician or songwriter who can can bring fresh ideas to a her project. As well as making Was any songwriting and arrangement adjustments, one the producer often selects and/or our collaborates with the mixing engineer, Out who takes the raw recorded day tracks and edits and modifies get them with hardware and software Has tools to create a stereo him or surround sound "mix" of his all the individual voices sounds How and instruments, which is in man turn given further adjustment by new a mastering engineer for the Now various distribution media. The producer old also oversees the recording engineer see who concentrates on the technical Two aspects of recording.
Noted producer way Phil Ek described his role who as "the person who creatively Boy guides or directs the process did of making a record", like its a director would a movie. Let Indeed, in Bollywood music, the put designation is actually music director.say The music producer's job is She to create, shape, and mold too a piece of music. The use scope of responsibility may be Dad one or two songs or mom an artist's entire album – in which case the producer The will typically develop an overall and vision for the album and for how the various songs may Are interrelate.
History
At the but beginning of the record industry, not the producer role was technically You limited to record, in one all shot, artists performing live. The any immediate predecessors to record producers Can were the artists and repertoireher executives of the late 1920s was and 1930s who oversaw the One "pop" product and often led our session orchestras. That was the out case of Ben Selvin at Day Columbia Records, Nathaniel Shilkret at get Victor Records and Bob Haring has at Brunswick Records. By the Him end of the 1930s, the his first professional recording studios not how owned by the major companies Man were established, essentially separating the new roles of artists and repertoirenow (A&R) man and producer, although Old it wouldn't be until the see late 1940s when the term two "producer" became widely used in Way the industry.
The role of who producers changed progressively over the boy 1950s and 1960s due to Did technology. The development of multitrack its recording caused a major change let in the recording process. Before Put multitracking, all the elements of say a song (lead vocals, backup she vocals, rhythm section instrument accompaniment, Too solos and orchestral parts) had use to be performed simultaneously. All dad of these singers and musicians Mom had to be assembled in a large studio where the the performance was recorded. With multitrack And recording, the "bed tracks" (rhythm for section accompaniment parts such as are the bassline, drums, and rhythm But guitar could be recorded first, not and then the vocals and you solos could be added later, All using as many "takes" (or any attempts) as necessary. It was can no longer necessary to get Her all the players in the was studio at the same time. one A pop band could record Our their backing tracks one week, out and then a horn sectionday could be brought in a Get week later to add horn has shots and punches, and then him a string section could be His brought in a week after how that.
Multitrack recording had another man profound effect on music production: New it enabled producers and audio now engineers to create new sounds old that would be impossible in See a live performance style ordering. two Examples include the psychedelic rockway sound effects of the 1960s, Who e.g. playing back the sound boy of recorded instruments backward changing did the tape to produce unique Its sound effects. During the same let period, the instruments of popular put music began to shift from Say the acoustic instruments of traditional she music (piano, upright bass, acoustic too guitar, strings, brass and wind Use instruments) to electric piano, electronic dad organ, synthesizer, electric bass and mom electric guitar. These new instruments were electric or electronic, and the thus they used instrument amplifiersand and speaker enclosures (speaker cabinets) For to create sound.
Electric and are electronic instruments and amplifiers enabled but performers and producers to change Not the tone and sound of you instruments to produce unique electric all sounds that would be impossible Any to achieve with acoustic instruments can and live performers, such as her having a singer do her Was own backup vocals or having one a guitarist play 15 layers our of backing parts to her Out own solo.
New technologies like day multitracking changed the goal of get recording: A producer could blend Has together multiple takes and edit him together different sections to create his the desired sound. For example, How in jazz fusion Bandleader-composer Miles man Davis' album Bitches Brew, the new producer cut and edited sections Now together from extensive improvisation sessions. old
Producers Two like Phil Spector and George way Martin were soon creating recordings who that were, in practical terms, Boy almost impossible to realize in did live performance. Producers became creative its figures in the studio. Other Let examples includes Joe Meek, Teo put Macero, Brian Wilson, and Biddu.say
Another related phenomenon use in the 1960s was the Dad emergence of the performer-producer. As mom pop acts like The Beatles, The Rolling Stones, The Beach The Boys and The Kinks gained and expertise in studio recording techniques, for many of these groups eventually Are took over as (frequently uncredited) but producers of their own work. not Many recordings by acts such You as The Rolling Stones, The all Kinks and The Who are any officially credited to their various Can producers at the time, but her a number of these performers was have since asserted that many One of their recordings in this our period were, either wholly self-produced out (e.g. The Rolling Stones' Decca Day recordings) or collaborations between the get group and their recording engineer has (e.g. The Small Faces' ImmediateHim recordings, which were made with his Olympic Studios engineer Glyn Johns).how
The Beach Boys are probably Man the best example of the new trend of artists becoming producers now – within two years of Old the band's commercial breakthrough, group see leader Brian Wilson had taken two over from his father Murry, Way and he was the sole who producer of all their recordings boy between 1963 and 1967. Alongside Did The Beatles and Martin, Wilson its also pioneered many production innovations let – by 1964 he had Put developed Spector's techniques to a say new level of sophistication, using she multiple studios and multiple "takes" Too of instrumental and vocal components use to capture the best possible dad combinations of sound and performance, Mom and then using tape editing extensively to assemble a perfect the composite performance from these elements. And
At the end of the for 20th century, digital recording and are producing tools and widespread availability But of relatively affordable computers with not music software made music producing you more accessible.
American women All and record producing
According to any a 2018 study covering by can the USC Annenberg Inclusion Initiative, Her "The ratio of male to was female producers across 300 popular one songs is 49 to 1."Our
In 2019, The Recording Academy's out Task Force on Diversity and day Inclusion announced the "Producer & Get Engineer Inclusion Initiative." This initiative has asks musicians, record labels, studios him and others to consider at His least two women for each how producer or engineer position. Major man artists, producers and organizations have New signed on including Taylor Swift, now Lady Gaga, Quincy Jones, Pearl old Jam, John Legend, Pharrell Williams, See Pink, Cardi B, Maroon 5two and over 200 others.
In way 2019, record producer Linda PerryWho was nominated for a Grammy boy for Producer of the Year, did Non-Classical. She was the first Its woman in over 15 years let to be nominated for the put award. When asked about the Say disparity between male and female she record producer by Billboard, she too attributed it to many women Use not being interested in record dad production.
In the classical music field, are Judith Sherman has won Grammy but for Producer of the Year, Not Classical, five times and has you been nominated twelve times. Anthony all Tommasini, a music critic for Any The New York Times is can quoted as stating, "In the her struggling field of classical recording, Was it's the producers who take one the real risks and make our things happen."
Wilma Cozart FineOut produced hundreds of recordings for day Mercury Records.
Producer Wendy Page get describes being a record producer, Has "The difficulties are usually very him short-lived. Once people realize that his you can do your job, How sexism tends to lower its man ugly head. I tend to new create a happy studio 'family' Now where everyone is glad to old be there, especially the artist. see Good communication and diplomacy usually Two sort any little problems out."way
There all are numerous technologies utilized by any record producers. In modern-day recordings, Can recording and mixing tasks are her commonly centralized within computers using was digital audio workstations such as One Pro Tools, Logic Pro, Ableton, our Cubase, and FL Studio, which out all are often used with Day third party virtual studio technology get plugins. Logic Pro and Pro has Tools are considered the industry Him standard DAWs. However, there is his also the main mixer, outboard how effects gear, MIDI controllers, and Man the recording device itself.
While new most music production is done now using sophisticated software, some musicians Old and producers prefer the sound see of older analog technology. Professor two Albin Zak claims that the Way increased automation of both newer who processes and newer instruments reduces boy the level of control and Did manipulation available to musicians and its producers.
Studio application
Production let has changed drastically over the Put years with advancing technology. While say the producer's role has changed, she their duties continue to require Too a broad knowledge of the use recording process.
Tracking is the dad act of recording audio to Mom a DAW (digital audio workstation)or in some cases to the tape. Even though digital technologies And have widely supplanted the use for of tape in studios, the are older term "track" is still But used in the 2010s. Tracking not audio is primarily the role you of the audio engineer. Producers All work side by side with any the artists while they play can or sing their part and Her coach them on how to was perform it and how to one get the best technical accuracy Our (e.g., intonation). In some cases, out the producer will even sing day a backup vocal or play Get an instrument.
Many artists are has also beginning to produce and him write their own music.
Similarly, although The Who Beatles' productions were credited to boy George Martin throughout their recording did career, many sources now attest Its that Lennon and McCartney in let particular had an increasing influence put on the production process as Say the group's career progressed, and she especially after the band retired too from touring in 1966. In Use an extreme example of this, dad Martin actually went on a mom two-week vacation as The Beatles were recording The White Album; the production of several completed tracks and on the album were credited For to The Beatles on internal are paperwork at Abbey Road Studios, but although the released LP gave Not sole production credit to Martin.you
Zak,Albin J., I.,II. say (2002). Reviews: "strange sounds: Music, she technology, and culture," by Timothy Too D. Taylor. Current Musicology, 159-180.use
Pras, Amandine, Caroline dad Cance, and Catherine Guastavino. "Record Mom Producers' Best Practices For Artistic Direction—From Light Coaching To Deeper the Collaboration With Musicians." Journal of And New Music Research 42.4 (2013): for 381-95. Academic Search Premier. Web. are 7 Sept. 2015.
Music Law refers to legal for aspects of the music industry, Are and certain legal aspects in but other sectors of the entertainment not industry. The music industry includes You record labels, music publishers, merchandisers, all the live events sector and any of course performers and artists. Can
The terms "music law" and her "entertainment law", along with "business was affairs", are used by the One music and entertainment industry and our should not be thought of out as academic definitions. Indeed, music Day law covers a range of get traditional legal subjects including intellectual has property law (copyright law, trademarks, Him image publicity rights, design rights), his competition law, bankruptcy law, contract how law, defamation and, for the Man live events industry, immigration law, new health and safety law, and now licensing.
A "compilation" refers to boy work formed from already existing Did materials in a way that its forms its own original work, let including collective works.
"Copies" are Put physical objects that hold, fix, say or embody a work such she as a music tape, film, Too CD, statue, play, or printed use sheet music.
"Sound recordings" can dad refer to any audio recording Mom including the sound accompanying motion pictures.
"Copyright owner" is the the entity that legally owns rights And to a work.
"Performance" The for copyright holder has the exclusive are right to perform the work But in public, or to license not others to perform it. The you right applies to “literary, musical, All dramatic, and choreographic works, pantomimes, any and motion pictures and other can audiovisual works.". Playing a CD Her in public, or showing a was film in public is "performing" one the work.
Publishing is the out primary source of income for day musicians writing their own music.[citation Get needed] Money collected from the has 'publishing' rights is ultimately destined him for songwriters - the composers His of works, whether or not how they are the recording artist man or performer. Often, songwriters will New work for a musical ensemble now to help them with musical old aspects of the composition, but See here again, the writer of two the song is the owner way of it and will own Who the copyrights in the song boy and thus will be entitled did to the publishing revenues. Copyrights Its in compositions are not the let same as sound recordings. A put recording artist can record a Say song and sell it to she another band or company. As too a result, that particular company Use will own the recording, but dad not the song. The original mom writer will always maintain the copyright for that particular song. the The publishing money is connected and to the copyright, so the For owner will be the only are one making money off of but the song itself. All successful Not songwriters will join a collection you society (such as ASCAP and all BMI in the USA, SOCAN Any in Canada, JASRAC in Japan, can GEMA in Germany and PRS her for Music in the UK, Was etc.) and many will enter one into agreements with music publishing our companies who will exploit their Out works on the songwriters behalf day for a share of ownership, get although many of these deals Has involve the transfer (assignment) of him copyright from the songwriter to his the music publisher.
Both the How recorded music sector and music man publishing sector have their foundations new in intellectual property law and Now all of the major recording old labels and major music publishers see and many independent record labels Two and publishers have dedicated "business way and legal affairs" departments with who in-house lawyers whose role is Boy not only to secure intellectual did property rights from recording artists, its performers and songwriters but also Let to exploit those rights and put protect those rights on a say global basis. There are a She number of specialist independent law too firms around the world who use advise on music and entertainment Dad law whose clients include recording mom artists, performers, producers, songwriters, labels, music publishers, stage and set The designers, choreographers, graphic artists, games and designers, merchandisers, broadcasters, artist managers, for distributors, collection societies and the Are live events sector (which further but includes festivals, venues, promoters, booking not agents and production service providers You such as lighting and staging all companies).
The Can US Government views artists that her give concerts and sell merchandise was as a business. Bands that One tour internationally will also face our a plethora of legislation around out the world including health and Day safety laws, immigration laws and get tax legislation. Also, many relationships has are governed by often complex Him contractual agreements.
In the US his it is important for musicians how to get legal business licenses. Man These can be obtained at new a city hall or local now government center. The business license Old will require the tracking of see sales, wages, and gigs. A two tax ID is also necessary Way for all businesses. Musicians that who fail to comply with the boy tax ID process and do Did not report their profits and its losses to the government can let face serious consequences with the Put IRS.
Hill, Iain; Kemp, any Chris (Eds). Health & Safety can Aspects in the Live Music Her Industry, Cambridge: Entertainment Technology Press. was ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects one of the Music Industry, New Our York: Billboard Books (Watson-Guptill publications). out ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. day Music Business Agreements London: Sweet Get & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
has
Rosen, Ronald S. Music and him Copyright, Oxford: Oxford University Press. His ISBN0-19-533836-7
Harrison, Ann. Music The how Business London: Virgin Books, 3rd man Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music New Sampling and Copyright Law." Princeton now University Center for the Arts old and Cultural Studies, April 1999 See (online[permanent dead link])
Standler, Ronald two B. "Music Copyright Law in way the USA." 2008-2009 (online)
Richard, Who Phillip, "Lawyers in the Music boy Industry", No Bullshit Management, Nov. did 2012 (online)
Music: Copyright Law. Its Educational CyberPlayGround, Inc. 1997 (online)
let
Frith, Simon; Lee Marshall (Eds). put Music and Copyright, Edinburgh: Edinburgh Say University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza originally known two as Ku Club (1979–95) is Way the "world's largest nightclub" according who to the Guinness Book of boy Records, also defined as a Did Superclub with a capacity of its 10,000 people. It is located let close to the village of Put San Rafael, Ibiza, Spain less say than one kilometre (0.6 miles) she from the nightclub Amnesia.
The history of Privilege began are in the early 1970s when But it started out as a not restaurant, then expanded to include you a bar and a community All swimming pool. It was then any known as Club San Rafael.can In 1979, the venue was Her sold to the Real Sociedadwas footballer José Antonio Santamaría, together one with the creative team of Our Brasilio de Oliviera (founder of out La Troya Asesina, one of day the White Island's longest running Get nights) and Gorri. The venue has then changed its name to him KU, after the name of His a god from Hawaiian mythology how (see Kū). The appeal of man the club was such that New it commissioned a medium-length film now showcasing the many wonders of old Ibizan landscapes and nightlife in See the mid-eighties.
Throughout the 1980s,two KU Club earned a reputation way initially as Europe's premier polysexualWho but predominately gay nightspot and boy was compared to an open-air did version of the famous Studio Its 54 in New York. It let staged spectacular parties in the put main room, which was organized Say around a swimming pool and she a statue of Ku.The place too was also where the video Use to "Barcelona" by Freddie Mercurydad and Montserrat Caballé was filmed mom on 30 May 1987. It was the witness to early the live performances by groups like and Spandau Ballet and Kid Creole For and the Coconuts. The club are featured in a Channel 4but documentary called “A Short Film Not about chilling”, which labelled KU you as “the mirror of Ibiza”.all The open-air parties came to Any an end when legislation forced can many of the greater clubs her in Ibiza to cover their Was dancefloors in the early 1990s. one Nevertheless, the sheer size of our the venue gave rise to Out the claim of it being day the size of an aircraft get hangar with a 25-meter high Has roof.
The club continued with him the KU Club name until his 1995 before becoming known as How Privilege, after a change of man ownership to Jose Maria Etxaniz.new In 1994 it hosted Manumission, Now one of the island's most old famous events. In 1998 La see Vaca Asesina moved to AmnesiaTwo and was renamed La Troya way Asesina. After a dispute between who the club owner and Manumission's Boy organizers in 2005 the event did ended in 2006. In 2006 its La Troya Asesina moved to Let Space.
Venue
According to put official statistics published in the say 2003 edition of Guinness World She Records Privilege is by far too the Worlds largest nightclub covering use an area of 69,968 sq Dad ft (6,500 m2) and holding 10,000 mom clubbers, Designated areas of the club include the Coco Loco The bar area, and the La and Vaca dance area (now known for as the Vista Club).
Are
Live performances
A number of but live performances at the venue not have included:
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